All About Jazz

Home » Articles » Big Band Report

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

5

Ladder Is High, Women Keep Climbing

Jack Bowers By

Sign in to view read count
Unlike college sports, there is no Title IX program for women in jazz. Those who wish to pursue that line of endeavor have to elbow their way into what remains essentially a male-dominated profession (or art) and keep climbing the ladder one rung at a time. True, women have made notable inroads in recent years and are no longer looked upon as simply "band singers," as they once were; but their numbers remain woefully small, even though their talent on a wide range of instruments can no longer be denied. There are even all-female big bands that can hold their own in any company, the most conspicuous of which is the New York City-based ensemble DIVA, led by the excellent drummer Sherrie Maricle. On the US West Coast there is, among others, the Montclair (CA) Women's Big Band, co-led by Jean Fineberg and Ellen Seeling, which brings us to the point of this brief essay.

Not only does the Montclair WJO espouse a high standard of musicianship, it believes in sharing its expertise and artistry with the next generation, hence its involvement each year for the past four in the Jazzschool Girls' Jazz & Blues Camp for girls in grades 6-12, apparently the only summer jazz camp in the world for girls only with an all-woman faculty. The week-long camp is being held this month at the Jazzschool in Berkeley, founded in 1997 by Susan Muscarella who serves as executive director as well as president and dean of the Jazzschool Institute. The goals for the Jazz & Blues Camp are admirable: to provide a supportive atmosphere in which young female musicians can hone their musical skills; to encourage friendships among young female musicians; and to foster enhanced self-esteem and confidence. Some of these girls may be the Regina Carters, Esperanza Spaldings, Terri Lyne Carringtons, Diana Kralls, Claire Dalys, Anat Cohens and Maria Schneiders of tomorrow. Anyone who has been lucky enough to see and / or hear today's world-class female musicians will no doubt applaud the Jazzschool's camp for introducing another generation of young women to the beauty and wonders "America's classical music."

Speaking of Women in Jazz...

A number of women placed high in the 60th annual Critics' Poll, which appears in the August issue of DownBeat magazine including Nicole Mitchell, who won as best flutist, and Schneider, best composer, arranger and big band. Anat Cohen was named best clarinetist, placed fifth on soprano sax and fourteenth on tenor, while Jane Ira Bloom earned second place behind Branford Marsalis on soprano. Spalding won a third-place vote on acoustic bass, was second behind Christian McBride on electric bass, and placed third behind Vijay Iyer and Robert Glasper as Jazz Artist of the Year. On the other hand, I've heard Spalding sing and am frankly puzzled by her third-place finish among female vocalists, trailing Cassandra Wilson and Gretchen Parlato but ahead of Dianne Reeves, Dee Dee Bridgewater, Tierney Sutton, Karrin Allyson, Krall, Roberta Gambarini and others. Carter earned the nod as best violinist, Ingrid Jensen was in tenth place on trumpet, Mary Halvorson fourth on guitar, Jane Bunnett eighth on soprano and sixth on flute, Daly fifth on baritone, Geri Allen eleventh on piano, Hiromi ninth on keyboard, Amina Claudine Myers eighth, Barbara Dennerlein tenth and Rhoda Scott twelfth on organ, Marilyn Mazur tenth on percussion. Carla Bley placed twelfth among composers, fifteenth among arrangers.

Halvorson, Hiromi and Parlato were listed among the rising stars, Tineke Postma likewise on soprano and alto sax, Tia Fuller on alto sax and flute, Grace Kelly and Sharel Cassity on alto, Cohen on tenor, Lauren Sevian on baritone, Ali Ryerson and Holly Hoffman on flute, Helen Sung on piano, Hiromi on piano and keyboard, Patrice Rushen on keyboard, Dennerlein, Myers and Rhoda Scott on organ, Halvorson on guitar, Linda May Han Oh on bass, Carla Dihlstedt, Mary Oliver and Susie Hansen on violin, Allison Miller on drums, Peggy Lee (cello) on miscellaneous instrument, Satoko Fujii as composer, Chie Imaizumi as arranger. Still largely outnumbered by the men but gaining ground rapidly.

And that's it for now. Until next time, keep swingin.'..!

New and Noteworthy

1. James Morrison, Snappy Too (Morrison Records)

2. Aschaffenburger Big Band, Second Take (Main-Echo)

Tags

Related Video

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Related Articles

Read Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 4-4 Big Band Report
Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 25, 2018
Read Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 3-4 Big Band Report
Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 24, 2018
Read Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 2-4 Big Band Report
Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 23, 2018
Read Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 1-4 Big Band Report
Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 22, 2018
Read Los Angeles Jazz Institute Festival "Big Band Spectacular" 2017, Part 1-4 Big Band Report
Los Angeles Jazz Institute Festival "Big Band...
by Simon Pilbrow
Published: July 18, 2017
Read A Big Band Spectacular? You Bet Your Brass! Big Band Report
A Big Band Spectacular? You Bet Your Brass!
by Jack Bowers
Published: June 5, 2017
Read "Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 3-4" Big Band Report Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 24, 2018
Read "Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 4-4" Big Band Report Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 25, 2018
Read "Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 1-4" Big Band Report Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 22, 2018
Read "Los Angeles Jazz Institute Festival - Woodchopper's Ball: Part 2-4" Big Band Report Los Angeles Jazz Institute Festival - Woodchopper's...
by Simon Pilbrow
Published: September 23, 2018
Read "Nik Bärtsch's Ronin at (Le) Poisson Rouge" Live Reviews Nik Bärtsch's Ronin at (Le) Poisson Rouge
by Tyran Grillo
Published: May 11, 2018
Read "Access for People with Disabilities at Jazz Venues:  What is really missing" The Art and Science of Jazz Access for People with Disabilities at Jazz Venues: What...
by Hrayr Attarian
Published: June 11, 2018
Read "Jazz Jantar 2017" Live Reviews Jazz Jantar 2017
by Martin Longley
Published: December 21, 2017
Read "The Possibilities of Percussion: Yarn/Wire & ensemble, et. al" Multiple Reviews The Possibilities of Percussion: Yarn/Wire & ensemble,...
by Jakob Baekgaard
Published: December 12, 2017
Read "Cologne Open 2018" Live Reviews Cologne Open 2018
by Henning Bolte
Published: March 21, 2018